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Summary

Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its eighth edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory and cutting-edge essays by contemporary scholars, the text examines both historical and theoretical viewpoints on the subject.

Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into ten sections-each comprising the major fields of critical controversy and analysis-this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike.

A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism.

Author Biography

Leo Braudy is University Professor and Leo S. Bing Chair in English and American Literature and Professor of English, Art History, and History at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture, The Frenzy ofRenown: Fame and Its History, and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity.

Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism, and founding editor of Philosophy and Public Affairs.

Table of Contents

Preface

I. FILM LANGUAGE

VSEVOLOD PUDOVKIN From Film Technique[On Editing]

SERGEI EISENSTEIN From Film FormBeyond the Shot [The Cinematographic Principle and the Ideogram]The Dramaturgy of Film Form [A Dialectic Approach to Film Form]

ANDRÉ BAZIN From What is Cinema?The Evolution of the Language of Cinema

CHRISTIAN METZ From Film Language Some Points in the Semiotics of Cinema

GILBERT HARMAN Semiotics and the Cinema: Metz and Wollen

STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies

DANIEL DAYAN The Tutor-Code of Classical Cinema

WILLIAM ROTHMAN Against "The System of Suture"

II. FILM AND REALITY

SIEGFRIED KRACAUER From Theory of FilmBasic Concepts

ANDRÉ BAZIN From What is Cinema?The Ontology of the Photographic ImageThe Myth of Total CinemaDe Sica: Metteur-en-scene

RUDOLF ARNHEIM From Film As ArtThe Complete Film

JEAN-LOUIS BAUDRY The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema

NOEL CARROLL From Mystifying MoviesJean-Louis Baudry and "The Apparatus"

III. THE FILM MEDIUM: IMAGE

SIEGFRIED KRACAUER From Theory of FilmThe Establishment of Physical Existence